Vacaciones de El Santo

All the Saint wants to do is take a little trip abroad…but the gang of reporters tracking him down to the pier just won't believe he's not on a case. Among those reporters is Mary Langdon (Sally Gray), the only girl reporter in the bunch, determined to catch a big scoop to launch her career.

Along with his friend Monty, Simon tries to convince Mary he's on vacation, but suddenly things start to happen all at once: a mysterious parking lot meeting, a pursuit by automobile, a foot chase through the woods, a fight in a darkened clearing in which even our heroine assists, stomping a prone tough guy's wrist and taking away his knife just in time….

Simon Templar may be on vacation, but a case certainly finds him. Gradually he learns that all the to-do concerns a small, mysterious package that multiple parties seek (and Templar soon has).

Gray and Sinclair work well together, and exchange some enjoyably clever repartee. (Mary: "I suppose you realize we stand an excellent chance of being sent to jail for a couple of years." Simon: "Well, you can't expect to have your fun for nothing, can you.")

The picture really gets interesting when veteran English actor Cecil Parker comes on the scene as villain Rudolph Hauser, a spy who—like everyone else—badly wants that little box. Parker and Sinclair are excellent together—two experienced operators who maintain an exceedingly polite surface while playing a deadly game.

Hugh Sinclair is actually a quite pleasing Simon Templar—he captures the character's polished and polite exterior as well as the cool alertness and ready athleticism lurking just beneath. The picture's strong cast and a plot that presents a few surprises help to make this a very entertaining series entry. Only the resolution seems a bit weak…but that may be because the buildup was so good.

Best dialog exchange: In a highly tense moment, Templar bursts into Hauser's living room to find the owner ready to confront and presumably trap him. Templar plays it suave: "You don't mind me….butting in like this?" To which the reply is equally civil: "Oh, on the contrary, I…I'm always pleased to see you."

"The Saint's Vacation" moves along briskly. The fast pace enhances what would otherwise be a pretty typical B-mystery of the era.

The incandescent Sally Gray is at her peak here and she is the main reason you don't want to miss this movie. Wow- blonde hair, vivaciousness, overall screen presence, but mostly her magnificent voice. One of the best screen voices (female or male) ever to grace the screen in 1940 or any era. You can't take your eyes (or ears) off her. She was truly one of the all time screen babes.

The film also features the "inevitable" Cecil Parker (I call him inevitable because of his participation in so many good British films such as "The Lady Vanishes").

Sinclair was no way comparable to the rakish George Sanders but is adequate as the Saint here, livened as he is by being forced to go at the fast pace required in this story. A competent actor.

You should catch this non-classic because of the vibrant screen presence of Sally Gray. For sheer screen "Presence"- that often alluded to but seldom describable factor- whatever it is Ms. Gray had it.

Hugh Sinclair is The Saint, Simon Templar, in "The Saint's Vacation," a 1941 film also starring Sally Gray, Cecil Parker and Arthur Macrae. Besides Roger Moore and Ian Ogilvy on television, the Saint has been played by Sinclair, Louis Hayward and George Sanders (that I've seen). I liked Hayward's smoothness, Sanders' turn of a phrase, and I like Sinclair's cool, casual, take it as it comes attitude. He doesn't have the dry wit of Sanders' Simon, but like Saints before him, nothing fazes him either. He also doesn't whistle the familiar "Saint" tune, which I kind of missed.

Now the Saint is veddy veddy British as the productions were moved over to the UK, and Simon is working with a friend (Arthur Macrae) who's afraid of his shadow. This time the plot concerns a highly sought after music box - where have we heard that before? And, as usual, people will kill to get their hands on it.

Sally Gray is pretty and energetic as a reporter who accompanies Simon as she tries to get a good story. Evidently she doesn't realize that if you like Sherlock Holmes and The Lady Vanishes, this variation on a theme is old stuff. Very pleasant film.

One of the better entries in a series that was starting to tail off. Sanders had left the part of the Saint to become "The Gay Falcon" for the same studio, RKO, and production was transferred to war-torn Britain. Unbelievably this film shows little signs of the conflict as it's a tale of a race across Europe (with train footage apparently dragged out of Hitchcock's "The Lady Vanishes") to solve the mystery of a strange music box. Hugh Sinclair is slightly wooden as Simon Templar, although he gets into his stride during the action sequences and promises to shape up well (actually his one sequel is slightly disappointing as he doesn't get the chance to display his athleticism in the same way again). Sally Gray, who popped up as the romantic interest in "The Saint in London" is reporter Mary Langdon, out to get a story whether the Saint wants her to or not -- she was easily the prettiest co-star of the series and could easily have outshone a dozen similar Hollywood actresses. Arthur Macrae is a fine comic Monty Hayward and Ealing Comedies regular Cecil Parker an excellent, hissable villain as Crown Prince Rudolph. Gordon McLeod makes the second of three appearances as Chief Inspector Teal, though sadly his is only a guest appearance right at the end of the film. Again, he is easily the best of the screen/TV Teals. The story is faithfully adapted (if shortened) from "Getaway", one of Saint creator Leslie Charteris's best books. Forget the Val Kilmer "Saint" film effort (which has nothing in common with Charteris's character, and doesn't even credit the author) and curl up and enjoy.

Saint's Vacation, The (1941)

** (out of 4)

Seventh film in RKO's series has George Sanders being replaced by Hugh Sinclair. This time out The Saint is battling a man over a mysterious box, which contains some sort of secret code. This is a rather strange entry in the series as I found it to have one of the best stories but the production is so poor that this really kills anything positive in the film. What really kept getting under my skin was the incredibly bad editing, which really stands out to be among the worst I've ever seen. There's one scene where The Saint must fight two guys while his sidekick and a female reporter (Sally Gray) are watching. The way this thing is edited is so poorly done and the bad music selections really made me laugh when the scene was of course going for suspense. As for Sinclair, he really doesn't make a very good leading man. I wasn't too impressed with Sanders in the role but he was certainly more fitting than his replacement. I'm not sure if he should get all the blame for being so stiff because the entire film pretty much plays out that way. There's never any real energy built by the director and in the end the movie just comes off pretty bland.